It appears that most people have forgotten to release any singles this week. Everybody sitting with bated breath and not wanting to take away from Coldplay's new album? We can only hope to God that this is a lie that I've invented. Following the wealth of talent from last week, people have got complacent, but there is at least a great track from Tribes, London's latest indie poster boys, which goes a long way to justifying the hype built off the back of 'Sappho' and 'We Were Children'. Throw in a bit of David's Lyre and The Miserable Rich and we're just about get away with it.


Tribes – 'When My Day Comes'

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I've made no secret about it, I'm a huge fan of Tribes, and this makes it two Singles of the Week for the Camden four-piece. With this arguably the first release that the band may have felt pressured with, as the comparisons to Suede and Weezer begin to pile up, it is refreshing to see an act who are continuing to write anthemic rock songs in the simplest sense, the same that has seen Spector join them on the podium as the 'big hope' for the British guitar scene. A song does not have to be original and un-listenable to be considered contemporary; this is catchy, and makes it cool to be in a band again. Any regular readers know my objections to the vast majority of the current glitch-pop movement, and this track represents a firm two fingers to the dull electronica doing the rounds at the moment.



The Miserable Rich – ‘On A Certain Night’

Successfully bringing genuine folk to the fore, exclusive of the nonsense nu- prefix, The Miserable Rich specialise in honest, heartfelt songs to appeal to sentiment and sense alike. Romancing a bittersweet honesty with the poetry of their innocent optimism, 'On A Certain Night' is a haunting track which retains a poignant quality in its accessibility. Folk at its most raw, yet its most affecting.



David's Lyre – ‘Hidden Ground’

Treading territory that 405 favourite Jeremy Warmsley used to inhabit, David's Lyre uses a delicate, generous voice over a minimalist, piano driven backing to create music both disingenuous and devastatingly wonderful. The disparate honesty of the track juxtaposes with the crescendo drumming and clashing, crashing guitar hook that threatens to wake into an a rythmic life of its own, before being reined back in by the fragile severity of the vocal. There are suggestions of Patrick Wolf to the bare electronica, but this is a track solely and purely the work of David's Lyre, and it bodes very well for the future.